Kiss gave it the 'II' because they updated the song with a handful of new lyrics and some belting powerchords after realising that the original is – and I cannot stress this enough – shit. Interesting fact about this song: It's called God Gave Rock 'N' Roll To You 'II' because it is actually a cover version of God Gave Rock 'N' Roll To You. This is something that is arguably never explicitly stated in the Bible (although some scholars suggest that it could be in mentioned in one of the Corinthians, but they keep getting those chapters confused so there’s no real way of knowing). The rock anthem so epic that it not only invokes a deity but literally creates an entirely new theological concept in asking you to "put your faith in a loud guitar". The line "Six-string shooter, hear it screaming / Slicing your head like a laser beam" is an acute description of how lead guitarist Reb Beach can literally stab you with music, but then it is followed by "It’s true love when I’m cranking the metal / It makes me, makes me, m-m-m-makes me cream!".
Secondly, a closer look at some of the lyrics gives away an ulterior motive beyond standing up to a fascist regime of sleazy computer morons. First, with a single line of deep-voice backing vocals at the 1.40" mark, which makes the whole venture sound less 'cut-throat rebel' and more 'Right Said Fred'. The violent aggression perpetuated throughout the song – targeted at "preprogrammed morons computer sleaze" no less – does sadly get undermined in two places. "My guitar is my ammunition", claims lead singer Kip Winger as the band "opens fire" with some legit weapons-grade noodling. Although I recall that the lyrics in the inlay had this written as "c-ya", showing that Mr Slaughter (genuinely his real name) not only found a way to further abbreviate "I will see you later", but essentially invented text-speak in the process.ĭoubling up on Slaughter’s anti-establishment sentiment, Winger go full-blown trigger happy with this song that somehow claims to weaponise rock music. The song very neatly ends with a section that ups the tempo to double-time and contains some more direct messages for listeners, saying that "it’s been great to party" with them, and signs off on the last note with a spoken "see ya". Otherwise, Mr Slaughter (real name), how do you know what you’re rebelling against? Obviously we have to accept that this was a different time, and now of course any self-respecting rebellious youth knows to only take to the streets after watching the six o’clock news. The majority of the song is basically about how the singer and his friends like to play music loudly in the street, unlike the squares who just "watch the six o-clock news". Please make sure the overhead bars are in the correct position as we begin our descent into awesome. Truly, this is the Space Mountain of rock. This intro then proceeds to dangerously oversell the remainder of the song, promising that listeners are guaranteed a "ride" that is not only "wild" but “way bueno". We’re just having to go through this rudimentary drill. but for fun! "This station will be conducting a test / Of the 'Good Times Broadcasting System', that is!" It’s a bold song that starts with "Sorry about this, everyone. Ok, straight away, we’re treated to the glorious rug-pull of a PSA. Let’s pretend we're the NME for a moment and go through this track by track. There’s even a rock song version of Cats. Poetic! It turns out that this isn’t just a soundtrack to The Wyld Stallyns’ second adventure, but to the year 2020.
The whole album reaches a dystopian low-note at the point of Megadeth's Go To Hell, which features the lyrics "And as my body decays / Mold begins to fill my grave / The smell of death permeates / The silk within my coffin lays". It starts with the wonderfully optimistic Shout It Out by Slaughter, which preaches a love for music so profound that it somehow defies the establishment, but then - barring the glory track of God Gave Rock N Roll To You II - things very quickly turn aggressively downbeat. Listening back to it again now, the album runs a pretty varied gamut in tone. And, as the first album I ever bought, at the age of 10, I couldn’t love it any more. Every song feels like an exercise in delivering excruciatingly cringey singer ad-libs and committing some of the widdliest diddles to ever grace a fretboard. This compilation of glitzy guitars and wailing vocals might seem like standard fare for a 90s party movie, but within the niche genre lies a diverse range that runs from epic glamthem to, well, forgettable meh-tal. With Bill & Ted Face The Music coming to a cinema/streaming platform/post-Covid quarantine bunker near you soon, it's a good time to revisit the Bill & Ted's Bogus Journey soundtrack - surely the most absurd collection of musical ditties ever assembled for a film.
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